marked in this classic in general work of belarusian literature is a teacher, todorik, he, as it were, started along with the rest of the heroes, teachers, graduates of the university, but he gradually descends in this life. he drinks too much, he even comes to betrayal once when i was asked why negative characters are better remembered than positive ones. here is my fellow composer. serezha map said an interesting thing. he says, you know, he says the fact is that the minor in music is richer than the major. well, i don’t know, these are musicians, there you know better, maybe it's a controversial thing, but for some reason in the films here, uh, it's always in dramaturgy, in general, for some reason, it's always so much more remembered, negative characters. and the tarik performed by eremenko is exactly what i remember. you can have a drink with you

, sit down with others.

when someone is at creative meetings, where kolya showed videos of his film performances and i ask oh, but what is this? kolya spoke? and this is my debut in the cinema , korzh sablin opened me for cinema, this is my favorite todorik and the first character, uh, which i played in the movies. you know, unfortunately. great regret. kolya was potentially a very wide-ranging actor with very broad possibilities. well, this role is the first role of todorik. unfortunately, she remained the only

brightly characteristic role in his huge film biography, because thanks to her appearance. let's just say the beauty of the elegance of imposingness. kolya played ministers, generals, marshals. directors of the plant secretary komov who just did not play. well, it was all people either in uniform or in a hat, which means they were preg, and now, how would such a gallery few memorable characters. we’re going on an expedition to the patches of our ukraine, we’re dipping ourselves together, you can joke the feat of new generations to me, traces of our ducts go there, and in a roundabout way, remembering the worsening of their voices until the next story, the name

of an owl about mash, and the month is cut out for how young the young people were waiting for well done. and at night the wound on foot burns the bride, the alarm clock is grumpy, the meat is not hot, or the loaf is cured with fists, but something we breathe will be an ass and we will give the second traditions, but life. polina is a hole, you are galina, you are molina, you cut yourself into the water, you are on

i’ve been spitting water, and for a year i’ve been chirping at the same time as the project on the pyramid on belarus 204 tv channel. the editors club turns out that humanity is being convinced with the help of the media that these people can manage us to unravel the formula of information tactics and destroy the technology of inflating panic rumors so that we can instantly respond to every peep. in fact. it will be wrong, which means that our opponents are forcing us to react to their government. all information coming from there must be divided by 10, and then once again for 10 times to double-check only large integrated projects can survive in modern international relations negative about something. believe me, there will always be finance an open dialogue about the most important social and political events. do not

miss it on belarus 24 tv channel. in 1964, nikolai and i were brought together by participation in the film moscow genoa in kolya's role. well, i have a tiny episode of the film that tells about the genoa conference of 1922, where the capitalist european countries began to gradually reluctantly recognize the existence of the soviet russia has a very interesting script by alexei speshnev. but this film is simply unique in terms of the number of wonderful film actors who starred there as the french adviser minier rostislavlyat. english prime minister loyd george vladimir

belokurov, remember his valerichkalov there or in our cemetery. he was filming. prime minister amelia of france trade who could not resist sergei martinson people's commissar for foreign affairs of soviet russia chicherin georgy belov ambassador of the country of the soviets litvinov our pavel molchanov were still there busy lyudmila khityaeva ukule there is a bright role. the white guard. rusanov, the whites flee under the onslaught of the red army, they flee to the crimea amazingly. these scenes were filmed by the cameraman bulinsky of the deceased. yes, you are dying, and then there is such a scene when rusanov takes out a pistol from the cry of an ally of your mother and shoots

, shoots after these departed cars. that means until he runs out of ammo in his clip. i'm afraid of god your mother's soul. this is how the plot of this role, which nikolai played in this film, goes. when he met his second godfather sergei he asked gerasimov, kolya is filming somewhere, well, he said, who is filming there? and when eremenko began to list all these artists who are filming there, gerasimov says, kolya says, says gerasim exclamation. he says that he is an old man who has gone crazy and has gathered artists from such different schools. they didn’t work together, they worked together and it turned out to be a wonderful acting ensemble.

there was a transfer of a movie panorama i was asked to shoot a story about how the film is being shot moscow genes happened actors picked up spent the preparatory period began shooting vladimir vladimirovich the director's chair was taken by pavel armand, the second director. well, the author of the famous song clouds rose over the city, the air smells like a thunderstorm, too, fell ill. an experienced cinematographer sat in the director's chair, but screenwriter alexei vladimirovich speshnev, i hear a call after shooting the panorama. volodya do you remember

that the great director pudovkin was filmed by the great director giant? i say, well , of course, i remember everything; here pudovkin played the holy fool in the film by sergei mikhailovich from eisenstein ivan the terrible yes. volodya is like this. i invite you to play an episode in my film too. that is, as if the great will listen to another great director, as it should be. well , of course, i agreed. i say, how can i do something there somehow, if you can let go of the antennae. so when i let go of these tiny , now already gray, barely noticeable mustaches. since then , i have not shaved them off. that's how i found them. what was that episode. two terrorists are rusans, and i make our way at night the carriage of a train

of diplomats who are being taken to the genoese conference, a letter from lenin with instructions on how soviet diplomats should behave in the changing situations of the conference. the character of this rusanov, he became in exile, the final ardent anti-bolshevik anti-soviet and turned, in fact, into a terrorist. well, in a couple in the company of myself for fidelity, so to speak, shooting. he took, here is the character. here, his name is not there, just a terrorist. so, it was me in a black sweater, the episode was amazingly filmed by the andrey cameraman. you are right, he is traveling in the second compartment, i must say that, probably, this is the second role.

maybe not as sharp-tempered as todorik’s, but also quite sharp, where kolya was able to show some kind of temperament of his , because in all the other uh, hmm roles, that’s what i listed there all sorts of factory directors, there marshals. well, he shouted there, but these were either failed operations or the plan of the plant was not fulfilled there, well, only to play at this level. there was nothing in particular. but there was still a big one. here, uh, a tragedy, this internal breakdown in a person, and he is in this one, here roles appearing, so to speak, here dotted throughout the film. i think that i declared myself simply, brilliantly. come on, russian man, whom you did not shoot in vain in the twentieth. who had everything the motherland of youth, everything is a package, where is the letter from your

kremlin. and when, after the premiere of the film at the moscow cinema house? kolya met with gerasimov and gerasimov said, but he surprised the old one surprised everyone worked together, in general everything is simple. yes, he was wonderful and did compliments to kolya, you know, he will hear a compliment to the actor from such an educator of actors and from such an actor's director as sergei polinovich gerasimov, this is a very great honor. and in 1970, korsh turned 70 in leningrad, a big episode of the film the collapse of the empire in some kind of palace was filmed. huge

extras. the february revolution there are some kind of rallies, kolya also plays a bolshevik there. vaulina and i waited. i knew it was impossible to wait. something you don't need now. katya is the last day of filming and on this day the kursh

turns 70 years old with the operator of this film igor remeshevsky. the camera shoots a big camera and filming the last episode. it was the last episode of the film and the last episode of the last film in the biography of the korsh of the empire, there was still a film, and he did not turn off the camera and continued to shoot, and now the korsh from all sides rushed, the artists who were filming there. then kolya tells me that in the tourist hotel there was a smell of fried food, because the table had already been laid for an honest non-korsh in honor of his seventieth birthday, we